TIFF Film Review: Drive

Drive (2011)
Directed By: Nicolas Winding Refn
Based on the Book By: James Sallis
Starring: Ryan Gosling, Albert Brooks, Carey Mulligan, Bryan Cranston and Ron Perlman

Director Nicolas Winding Refn really loves John Hughes movies -- he just wants you to know that.

The Dutch director of Drive, touted as one of the must-see movies at this years Toronto International Film Festival, claimed he was very heavily inspired by both the late-director and 80s movies, in general.

With its 80s-influenced soundtrack and bright pink title credits, Drive has a certain Hughes feel to it -- only imagine Hughes' angst-ridden teen characters going on a violent rampage and brutally murdering each and every one of their high school tormenters in an increasingly violent (and creative) manner. In a recent interview about the film, both Rehn and star Ryan Gosling said they were influenced, in particular, by Pretty in Pink (1986).

"One thing we both agreed on was that we loved 'Pretty in Pink' and that it would have been a masterpiece if it was more violent," Gosling said. "In some ways we tried to make a violent John Hughes movie."

Rehn and Gosling brought up that same idea once again last night during the Q&A session at the North American premiere of the film at the Ryerson University Theatre. So, go into the movie envisioning a really evil, fed-up Duckie from Pretty in Pink and just take it all in.

A Hollywood stunt driver by day, a getaway driver by night, the man known only as Driver (Gosling) discovers that he's a target after a heist gone wrong. With baddies Bernie Rose (Albert Brooks) and Nino (Ron Perlman) hot on his tail, Driver rips and roars through the streets of L.A. while simultaneously trying to romance a young mother (Carey Mulligan) who is, at first, completely unaware of his darker side.

What Drive lacks in character development and plot, it more than makes up for in style. It's essentially a blood-soaked homage to both B-movie Hollywood flicks and European art house fare. Graphic violence is around every corner, escalating to the point where each new scene will make you flinch in anticipation of the brutal demise of yet another character. Definitely not for the faint of heart, the film indulges in guilty pleasure thrills and explores the dark recesses of our most violent fantasies.

Gosling during the Q&A session at TIFF.

One scene, in particular, which takes place in an elevator, vividly contrasts the tenderness of a first kiss with a violent (and prolonged) death sequence. You'll never truly feel comfortable in an elevator ever again. Drive is filled with similar scenes -- jarring violent images that will shock you right out of your seat; and, judging from the gasps and applause from the audience last night, it happened on a few occasions.

As the driver, Gosling is a commanding screen presence -- he's absolutely terrifying and will erase all your previous memories of him as a gawky teen on Breaker High or as a romantic lead. His Driver is a man without a name or any past that we are aware of, making his actions all the more chilling since the audience is left without any idea of the true origin of his anger. Gosling proves he can play diverse characters and still bring his A-game to each performance.

Another noteworthy performance, albeit in a much smaller capacity, is Bryan Cranston as Gosling's pal, Shannon. The man can do no wrong, between this and the AMC series, Breaking Bad.  He's one of the few characters that actually inspires audience sympathy.

Despite the performances and the highly-stylized visual concept and direction, Drive stumbles a bit, preventing it from becoming a truly epic piece of revenge cinema. The uneven pacing at the beginning of the film makes it feel a little lopsided -- at first there's minimal dialogue and a whole lot of driving around. Perhaps Rehn's intention may have been to lull the audience into a state of calm before foisting the extreme violence on them. So, if that was his intent, it succeeded. If not, than the pacing could have used some re-tweaking.

Female characters are often relegated to the background in films like Drive -- although in this film they are practically put in a faraway corner. It's unfortunate that Mulligan's character, Irene, had little to do other than glance longingly at the driver -- even after she witnesses one of his violent episodes firsthand. There's no indication as to why Irene would even consider seeing the driver again and placing her son's life in danger just to be nearer to this violent man.

I didn't quite know what to make of Drive once the credits started rolling. I can appreciate where people are coming from when they tout it as one of the most stylish films to come out of Hollywood in years. Yet, there was something missing that I couldn't quite put my finger on. Visually stunning, yes. An homage to both Hollywood films past and European arthouse flicks, yes. Perhaps it was the pacing or the lack of any real character development -- or maybe my expectations were too high -- but I left wanting a little more substance to accompany the graphic violence. That being said, I realize I'm likely in the minority when it comes to Drive. 

Regardless of my torn opinion, I'm glad I saw it. It will likely be discussed quite heavily among film fans for the next few months and who doesn't love when a film inspires great discussion? So, just sit back and buckle your seatbelts when you watch Drive. You'll certainly be taken for a ride.

FINAL GRADE: B


Question: Drive will likely provoke a strong reaction in anyone who sees it. What did you love or dislike about the film?

Movie Review: Blue Valentine

Blue Valentine (2010)
Starring: Ryan Gosling and Michelle Williams
Directed By: Derek Cianfrance

We've all heard marriage statistics thrown around for decades -- 50% of marriages end in divorce, fewer people are getting married nowadays, etc. Blue Valentine examines one couples relationship, and it speaks volumes about just how elusive that type of true love can be sometimes. When the "honeymoon period" is over and real life sets in, can your relationship hold up against everyday burdens and commitments?

In Derek Cianfrance's film we are introduced to Cindy (Michelle Williams) and Dean (Ryan Gosling), four years after the bloom has faded off their relationship. They raise their 4-year-old daughter, Frankie (Faith Wladyka) in a dilapidated-looking house, barely communicating with one another unless it directly involves their child. Dean, a high school dropout who works occasionally as a furniture mover, lounges around the house drinking while the more ambitious Cindy is away at her job as a nurse. As the plot unfolds in "real time," the film is interspersed with flashback scenes showing the young couple as they were early on in their relationship. The stark contrast between then-and-now gives the audience a raw and heartbreaking glimpse into the slow deterioration of a once-loving relationship.

Director Cianfrance has only one prior film credit in his resume. If this film is any indication, he's got a lot of promise as an indie film director. Blue Valentine plays more like a documentary than a conventional film; a gritty look at the erosion between two people who were once in love. Like any great filmmaker, Cianfrance knows exactly which moments in the relationship to highlight in order to illustrate its complexity. He's just an observer of this fragile relationship, much like the audience. The film never suggests that the behaviour of its two lead characters is wrong. They just are the way that they are -- and that makes it all the more believable. Both are, inherently, good people who want to do the right thing. They just aren't good together, necessarily.

Cindy and Dean are rich and fully-realized characters. Both of their good and bad qualities are on display. However, these two characters wouldn't be half as fascinating as they are if it weren't for the performances of Michelle Williams and Ryan Gosling, two of the best actors of their generation. For the sake of realism, Williams and Gosling lived together during filming in order to properly explore the highs and lows that would come with sharing a home with a partner. That dedication to character development and performance is admirable and it pays off in the completed film. Williams and Gosling have undeniable chemistry, whether they are laughing or arguing. Although Williams earned a much-deserved Best Actress nomination for her performance, Gosling should have been nominated as well. Blue Valentine is such a success at creating an atmosphere of both love and tension because of both of the leads. One wouldn't have worked as well without the other.

When Cindy and Dean meet while Cindy is still in medical school, it's clear from the start that their personalities are polar opposites. Ambitious, strong and smart, it's hard to believe, at first, that Cindy would fall for someone like Dean -- a slacker-type who refuses to grow up and carries around a ukulele as a sad reminder of the big dreams he once had about being an artist. However, Cindy's messy home life and irritating jock boyfriend drive her right into Dean's arms -- and his charm and willingness to do anything for her eventually wins Cindy over. When a sudden turn of events throws them even further into a very adult situation, Cindy and Dean dive in head-first without thinking of the repercussions or whether or not they could make their new relationship work. But that's what happens when you suddenly find yourself head-over-heels in love -- you lose focus of your initial goals and ambitions. Hindsight is 20/20, something that proves true to Dean and, especially, Cindy four years down the road.

What makes Blue Valentine so refreshingly honest and complex is that your find yourself rooting for both of them, only you don't really know how or why. Do you root for them to stay together and work it out? Or do you root for them to come to some sort of understanding and part ways while still sharing custody of young Frankie? Regardless of which you might prefer, you just don't want them to fight anymore and you feel sympathy for both of their situations.

Blue Valentine asks you to consider why something that started off so wonderfully can end up in heartbreak and anger. It's a question worth considering and it's something we all have to deal with at some point in our lives. If you are looking for answers, the film doesn't provide any, but that doesn't make it any less powerful or effective.

FINAL GRADE: A-